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The Films of Raoul Walsh, Part 1
Contents Screen Valentines: Great Movie Romances Screen Valentines: Great Movie Romances .......... 2 February 7–March 20 Vivien Leigh 100th ......................................... 4 30th Anniversary! 60th Anniversary! Burt Lancaster, Part 1 ...................................... 5 In time for Valentine's Day, and continuing into March, 70mm Print! JOURNEY TO ITALY [Viaggio In Italia] Play Ball! Hollywood and the AFI Silver offers a selection of great movie romances from STARMAN Fri, Feb 21, 7:15; Sat, Feb 22, 1:00; Wed, Feb 26, 9:15 across the decades, from 1930s screwball comedy to Fri, Mar 7, 9:45; Wed, Mar 12, 9:15 British couple Ingrid Bergman and George Sanders see their American Pastime ........................................... 8 the quirky rom-coms of today. This year’s lineup is bigger Jeff Bridges earned a Best Actor Oscar nomination for his portrayal of an Courtesy of RKO Pictures strained marriage come undone on a trip to Naples to dispose Action! The Films of Raoul Walsh, Part 1 .......... 10 than ever, including a trio of screwball comedies from alien from outer space who adopts the human form of Karen Allen’s recently of Sanders’ deceased uncle’s estate. But after threatening each Courtesy of Hollywood Pictures the magical movie year of 1939, celebrating their 75th Raoul Peck Retrospective ............................... 12 deceased husband in this beguiling, romantic sci-fi from genre innovator John other with divorce and separating for most of the trip, the two anniversaries this year. Carpenter. His starship shot down by U.S. air defenses over Wisconsin, are surprised to find their union rekindled and their spirits moved Festival of New Spanish Cinema .................... -
213 Nothing Like the South: Aurora Greenway – a Belle
NOTHING LIKE THE SOUTH: AURORA GREENWAY – A BELLE IN EXILE Anca Peiu University of Bucharest Larry McMurtry’s Terms of Endearment has been better known as a 1983 successful silver-screen story than as a 1975 best-selling novel, rather as a multiplereceiver of Academy Awards than as a most accomplished book by a prolific author and Pulitzer Prize winner. My return to it is justified by some recently read essays – neither on the film, nor on the book – but on the Belle and the South (indeed, an archetypal coupling somehow echoing Beauty and the Beast ). As for my title here – it oscillates between two Shakesperean sonnets: Sonnet 130 and Sonnet 3. Both poems appeal particularly to the sense of sight ; they are versions of that type of painting (also fiction) known as a portrait of a lady – who stays the lady even if she defies any canon of lady-likelihood – both as Shakespeare’s (image of the) lover and as McMurtry’s Southern Belle – from My mistress’ eyes are nothing like the sun… Thou art thy mother’s glass, and she in thee Calls back the lovely April of her prime; So thou through windows of thine age shalt see, Despight of wrinkles, this thy golden time… The latter quote opens Larry McMurtry’s novel, as a necessary motto. It evokes a specific traditional relationship: mother-daughter, by the classic symbol of the mirror . It could send us – via Larry McMurtry’s novel – to Katherine Henninger’s astute study of the impact of photography on the Visual Legacies of the South: Picture a southern woman . -
None of This Would Have Ever Happened If You Had Just Given an Oscar to Jennifer Lopez
NONE OF THIS WOULD HAVE EVER HAPPENED IF YOU HAD JUST GIVEN AN OSCAR TO JENNIFER LOPEZ By Tony Meneses Characters: Hugo Omar Nigel Elijah Yosef (all gay men of color in their 30’s/40’s) Setting: The last recorded Oscar party in gay history Time: February 9th, 2020 Wine. Charcuterie. Fresh fruit that no one’s eating. YOSEF. 1970? ELIJAH. ... Maggie Smith. NIGEL. Good one. YOSEF. 1991. ELIJAH Kathy Bates. HUGO. Also great. YOSEF. 1965! ELIJAH. Julie Andrews. NIGEL. (To Hugo.) Too easy. YOSEF 19... 46? ELIJAH. Joan fucking Crawford. NIGEL. HUGO. Oh my god! Yes ma-ma! NIGEL. That might actually be my favorite one. Mildred Pierce, can’t beat that. HUGO. What! Over Vivien Leigh, Ingrid Bergman, MERYL!?! 1 NIGEL. I stand by my decree. ELIJAH. Give me Elizabeth Taylor any day! YOSEF. 2002? In an instant it all goes quiet. NIGEL. ... What did you just say? YOSEF. 2002. Who won Best Actress in 2002? HUGO. Girl. Are you kidding? NIGEL. Oh god. She’s not. YOSEF. I’m not the biggest awards show gay, I’m sorry. HUGO. Who invited him again? ELIJAH. (Very serious.) 2002. That’s what you’re asking, Yosef? Two thousand, and two? YOSEF. Yes? ELIJAH. ... Halle Berry. Halle Berry won the Oscar that year. YOSEF. Oh. Isn’t that a good thing? We love Halle Berry. Don’t we? NIGEL. What kind of a question is that! 2 HUGO. You’re going to have to leave. ELIJAH. Halle Berry was—and remains to this day—the only woman of color to ever win the Academy Award for Best Actress. -
Inteimed0j Er SERVICIO
/ 1. letro golduyn. inteimed0J er SERVICIO . DEPRENSA N.° 51 — BARCELONA, 15 DE JULIO DE 19 lARXIU GENERALITAT DE CAÏALUY,; E3IBLIOTECA COMO SE HACEN LAS PELICULAS (Continua f — PREPARATIVOS EN EL ESCENARIO DieZ grandes naves posee Metro Goldwvn Mayer en sus Estudios de Culver City, destinadas al roda¡e de películas. En ellas se pueden construir toda clase de escenarios, desde suntuosos pala ante la intervención clos hasta selvas tropicales. Para la construcciór de los mismos, precisa, todo, del director de la cinta, el director artístico, o arquitecto escenarista, el operador, el director de per el de construcciones el del sonal —que se encarga del repartc de papeles—, superintendente y lefe departamento eléctrico, amén del director del departamento de registro sonaro. estas discuten seña En una reunión previa, y ba¡o la supervisión del productor, personas y lan las características generales de los escenarios que cada película necesita. El departamento de detalles sean la exacta Investigaciones se encarga de proporcionar cuantos precisos para asegurar reproducción de la atmósfera que cada escenario debe evocar. Este departamento cuenta con una consultas. biblioteca nutridisima, y atiende anualmente a un promedio de 50.000 Existe otro departamento, el de Accesorios, que provee a los estudios con toda clase de ob¡e a ve tos, utensilios, herramientos, armas y libros. Este departamento tiene obligación de suministrar, si la acción de la cinta transcu ces, las cosas más inesperadas como, por e¡emplo, cigarrillos rusos, el descritos en la cinta. Este rre en Rusia, o flores de !os más variados climas, según la estación y país de consti- departamento de accesorios, que tan importante, papel desempeña en el rodaje películas, valor asciende a mil!ones de dólares. -
Ronald Davis Oral History Collection on the Performing Arts
Oral History Collection on the Performing Arts in America Southern Methodist University The Southern Methodist University Oral History Program was begun in 1972 and is part of the University’s DeGolyer Institute for American Studies. The goal is to gather primary source material for future writers and cultural historians on all branches of the performing arts- opera, ballet, the concert stage, theatre, films, radio, television, burlesque, vaudeville, popular music, jazz, the circus, and miscellaneous amateur and local productions. The Collection is particularly strong, however, in the areas of motion pictures and popular music and includes interviews with celebrated performers as well as a wide variety of behind-the-scenes personnel, several of whom are now deceased. Most interviews are biographical in nature although some are focused exclusively on a single topic of historical importance. The Program aims at balancing national developments with examples from local history. Interviews with members of the Dallas Little Theatre, therefore, serve to illustrate a nation-wide movement, while film exhibition across the country is exemplified by the Interstate Theater Circuit of Texas. The interviews have all been conducted by trained historians, who attempt to view artistic achievements against a broad social and cultural backdrop. Many of the persons interviewed, because of educational limitations or various extenuating circumstances, would never write down their experiences, and therefore valuable information on our nation’s cultural heritage would be lost if it were not for the S.M.U. Oral History Program. Interviewees are selected on the strength of (1) their contribution to the performing arts in America, (2) their unique position in a given art form, and (3) availability. -
IN PERSON & PREVIEWS Talent Q&As and Rare Appearances, Plus A
IN PERSON & PREVIEWS Talent Q&As and rare appearances, plus a chance for you to catch the latest film and TV before anyone else Preview: Dirty God + Q&A with director Sacha Polak and actor Vicky Knight UK-Netherlands-Belgium-Ireland 2019. Dir Sacha Polak. With Vicky Knight, Eliza Brady-Girard, Rebecca Stone. 104min. Digital. Cert tbc. Courtesy of Modern Films Set in a small East London council estate, the film follows young mother Jade (Knight) as she tries hard to recover from an acid attack that left her severely disfigured. Dutch director Sacha Polak draws an outstanding performance of raw emotion and sexual frankness from first-time actor Vicky Knight, defying character expectations. SAT 1 JUN 17:30 NFT1 The Night of the Iguana + intro by actors Clive Owen, Lia Williams and Anna Gunn USA 1964. Dir John Huston. With Richard Burton, Ava Gardner, Deborah Kerr, Sue Lyon. 118min. Format tbc. 12A ‘One man... Three women... One night...’ John Huston’s production of Tennessee Williams’ play depicts a disgraced priest who, in a moment of desperation, forces a bus load of passengers to detour to a small Mexican coastal village. He unravels further in the company of its newly widowed owner (Gardner) and one of her guests (Kerr). In association with the new production of The Night of the Iguana at the Noël Coward Theatre, which runs from 6 July, starring Clive Owen (Closer), Lia Williams (The Crown) and Anna Gunn (Breaking Bad) iguanawestend.com TUE 4 JUN 20:10 NFT1 TV Preview: Poldark + Q&A with actors Aidan Turner, Jack Farthing and Luke Norris, and writer Debbie Horsfield BBC One-Mammoth Screen 2019. -
Divina-Diva-Catalogue-2021.Pdf
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Open Tiffany Wesner Thesis Final
THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DIVISION OF HUMANITIES, ARTS AND SOCIAL SCIENCES GONE WITH THE WIND AND ITS ENDURING APPEAL TIFFANY WESNER SPRING 2014 A thesis submitted in partial fulfillment of the requirements for a Baccalaureate Degree in American Studies with honors in American Studies Reviewed and approved* by the following: Raymond Allan Mazurek Associate Professor of English Thesis Supervisor Sandy Feinstein Associate Professor of English Honors Adviser * Signatures are on file in the Schreyer Honors College. i ABSTRACT The white antebellum woman has occupied an evolving archetypal status in American culture throughout the twentieth century. In 1936, Margaret Mitchell published Gone with the Wind and extended the tradition of featuring Southern belles in novels. However, Mitchell chose to alter stereotypical depictions of her heroine and incorporate a theme of survival. Her main character, Scarlett O'Hara, was a prototypical Southern woman of her day. Scarlett was expected to conform to rigidly defined social boundaries but, through acts of defiance and independence, she forged new paths for herself and her family along her route to survival. This thesis investigates the 1939 film adaptation of Mitchell's novel and the contributions of David O. Selznick, Vivien Leigh, and Hattie McDaniel to the story that chronicled Scarlett's transformation from stereotypical Southern belle to independent survivor. This analysis demonstrates that Scarlett depicted the new Southern Woman whose rising to define a diversity of roles embodied the characteristics of the New Woman. The film’s feminist message, romantic grandeur, ground-breaking performances, themes of survival through times of crisis, and opulent feminine appeal all combined in Gone With the Wind to create an American classic with enduring appeal. -
Vivien Leigh Discusses "Gone with the Wind"
Vivien Leigh Discusses "Gone with the Wind" Vivien Leigh, who played Scarlett O'Hara in the film version of "Gone with the Wind" - produced by David O. Selznick - talked about film making twenty years later with Edward R. Murrow. Joining them were Sam Goldwyn (the famous film producer) and Ken Tynan (a British film critic). This clip is from that December, 1958 interview. Among other things, it reveals Vivien Leigh's willingness to express her own opinions on a range of topics. Because Americans greatly loved Mitchell's book - Gone with the Wind - people were very interested to learn who would play the role of Scarlett O'Hara in the film version. (Margaret Mitchell - whose husband, John Marsh copy-edited the book - was very happy with the selection of Clark Gable as Rhett Butler.) One thing was for sure - Southerners did not want a "Yankee" actress to play the pivotal part. The July 17, 1939 edition of LIFE Magazine reflects the reaction when a beautiful but little-known actress from England was given the part: The most vital question of last year to millions of otherwise sensible Americans was who would play Scarlett O'Hara in the movie version of Gone With the Wind. When that question was settled by the somewhat unaccountable selection of an obscure, green-eyed English actress named Vivien Leigh, it was succeeded by another equally exciting one: would Miss Leigh do the part justice? Audiences loved Leigh as Scarlett, as did the film industry. LIFE includes a picture of Miss Leigh with her Oscar, after she won the award for best actress. -
The Effect of Censorship on American Film Adaptations Of
THE EFFECT OF CENSORSHIP ON AMERICAN FILM ADAPTATIONS OF SHAKESPEAREAN PLAYS A Thesis by RUTH ANN ALFRED Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May 2008 Major Subject: English THE EFFECT OF CENSORSHIP ON AMERICAN FILM ADAPTATIONS OF SHAKESPEAREAN PLAYS A Thesis by RUTH ANN ALFRED Submitted to the Office of Graduate Studies of Texas A&M University in partial fulfillment of the requirements for the degree of MASTER OF ARTS Approved by: Chair of Committee, Douglas Brooks Committee Members, Anne Morey Arnold Krammer Head of Department, M. Jimmie Killingsworth May 2008 Major Subject: English iii ABSTRACT The Effect of Censorship on American Film Adaptations of Shakespearean Plays. (May 2008) Ruth Ann Alfred, B.A., Texas A&M University Chair of Advisory Committee: Dr. Douglas Brooks From July 1, 1934, to November 1, 1968, the Production Code Administration (PCA) oversaw the creation of American motion pictures, in order to improve Hollywood’s moral standing. To assist in this endeavor, the studios produced film adaptations of classic literature, such as the plays of William Shakespeare. In the first two years of the Code’s inception, two Shakespearean films were produced by major studios: A Midsummer Night’s Dream (1935) and Romeo and Juliet (1936). But were these classic adaptations able to avoid the censorship that other films endured? With the use of archived collections, film viewings, and an in-depth analysis of the plays, multiple versions of the scripts, and other available surviving documents, I was able to see how these productions were affected by the enforcement of film censorship and what it said about the position of Shakespeare’s work in society. -
Ann Harding ~ 22 Films
Ann Harding ~ 22 Films Born in Texas in 1902 and forsaking commerce for the theatre in 1921, by 1929 Ann Harding was an established Broadway lead. In that year she signed with Pathé (soon part of RKO) and through the mid-'30s starred in a series of soap operas, most typically as suffering heroines forced to make noble sacrifices for the men they love. With her ash-blonde hair usually swept back into a bun, classical makeup-free good looks and deep, beautifully modulated voice, the patrician Harding brought a gentle, serene strength to such worthy star vehicles as When Ladies Meet (1933) and The Life Of Vergie Winters (1934) but fared less well in more faltering efforts such as Devotion (1931) and Enchanted April (1935). Ideal for the philosophical sophistication of playwright Phillip Barry, Harding shone in fine adaptations of two of his most successful comedy- drama talkfests: Holiday (1930), for which she received a Best Actress Oscar nomination and The Animal Kingdom (1932). She made two of her strongest films late in her reign as a star: the haunting almost surreal love story Peter Ibbetson (1935, opposite Gary Cooper) and the taut suspense melodrama Love From A Stranger (1937, with Basil Rathbone). She continued to appear on film, stage and television until 1965 and died in 1981, aged 79. With her favourite leading man, Leslie Howard Moira Finnie talks to Ann Harding biographer Scott O'Brien "Looking at Harding," wrote film historian Mick LaSalle in his book Complicated Women "is like looking into clear, deep water. Nothing stands in the way. -
Ambler Theater
Ambler Theater Previews87A MARCH – MAY 2014 Jim Broadbent & Lindsay Duncan in LE WEEK-END Duncan in LE Jim Broadbent & Lindsay INCLUDES OUR MAIN ATTRACTIONS AND SPECIAL PROGRAMS A MBLERT HEATER.ORG 215 345 7855 Welcome to the nonprofi t Ambler Theater The Ambler Theater is a nonprofi t, tax-exempt 501(c)(3) organization. How can you support ADMISSION AMBLER THEATER the Ambler Theater? MEMBER General ............................................................$10.00 Be a member. Become a member of the Members* .........................................................$5.00 nonprofi t Ambler Theater and Seniors (62+) & show your support for good Young persons (<25). ......................................$7.50 fi lms and a cultural landmark. See back panel for a member- Matinees ship form or join online. Your fi nancial support is tax-deductible. Mon, Tues, Thurs & Fri before 4:30 Make a gift. Sat & Sun before 2:30 .......................................$7.50 Your additional gifts and support make us even better. Your Wed Early Matinee before 2:30 ..........................$6.00 donations are fully tax-deductible. And you can even put your Affi liated Theaters Members** ...........................$6.00 name on a bronze star in the sidewalk! You must present your membership card to obtain membership discounts. Contact our Business Offi ce at (215) 348-1878 x117 or at The above ticket prices are subject to change. [email protected]. *Members’ admission may increase to $6.00 later in 2014. Be a sponsor. Receive prominent recognition for your business in exchange **Affi liated Theaters Members for helping our nonprofi t theater. Recognition comes in a variety The Ambler Theater, the County Theater, and now the Hiway Theater of ways – on our movie screens, in our brochures, and on our in Jenkintown, have affi liated admission benefi ts.